I'm gonna play Devil's advocate here and say that, standing here at this juncture in the Myst story between the old Cyan guided Uru and what lies ahead, Uru needs to both redefine itself musically and organise itself musically. What I mean is that, if I'm correct, Tim is no longer in charge of the music, both for the reasons of Cyan's contracted staff and Uru in and in itself having now been passed to us. What I'm afraid though is that individuality and individual working will supplant a cohesive order and artistic aim for Uru.
Here's what I propose:
Firstly, a reinvented musical style.
Second, one creative overseer that will be able to guide the music appropriately, but may join forces with individual age makers and various other composers for consultation and consolidation. This could allow a stronger array of creative looseness and diversity, all under a general aim and mantra enacting a unified vision for Uru.
Personally, I'm strongly in favor of taking the music into darker, more emotional depths. While Tim brought a radically new style that was far more vibrant and 'colorful', especially at the time following Riven, I'm again going to play Devil's advocate and say, that well, after 7 years I think it's time to move on. I've never been too enthusiastic about the style really. It had it's moments, but often to none, the moments which shone were those where the music truly attached itself to the visuals and subtly emphasized them with restraint. Specifically with Minkata this was the case.
When I speak about a darker, more emotional sound, I'm echoing much of the mentality that was favoured during Myst and Riven. In Myst, melody and simple, poingant style composition was the focus. It was about how to get the most out of a few notes and sound effects. Pieces like the Selenitic Mystgate are immensely powerful in their simplicity and focused concept. Channelwood featured inventive rhythms, Stoneship featured the telescope theme which hightened the visual emotion of 'beautiful despair. etc.
Riven on the other hand was all about power through minimalism. Robyn would slowly turn out notes and bell sounds and simple drum beats making the player savour the uneasyness, the tranquil environment, and the tension. The music sound also strengthened the visuals. Minor keys to match the rustic, warm environment. Bells to match the D'ni, drums to match the tribes people. Etc.
This was music that through simplicity, I've found said infinitely more than what was presented in Uru.
I'll now voice my vote for Turjan as musical director. Turjan's music embodies everything about the original games that worked - the subtlety, the natural/cultural quality, the roughness and warmness of sound. Not only does his music showcase the virtues of Robyn's approach, but goes even further as to be genuinely imbued with the culture of D'ni. It not only follows suit of the old games but strongly infers a sense of authenticity, as one would hear if they were in ancient D'ni . To put it shortly, it's more raw, more referent of D'ni culture, more a part of the environment instead of being superimposed onto the experience as a mere game soundtrack. His music brings you to D'ni and lets you experience the environment as if you were there before the fall.
On a related note, I'm not sure if Robyn is working on any projects as of late, last I checked. Maybe we could contact him and see if he'd be willing to aide with the music. Who knows, it could be a way to boost his career. As far as I know, he hasn't been actively busy with large projects since Riven 10 years ago. I think it would be great to bring him back into the ring.